See Also ›

In the early 1960s Rauschenberg
began his long experimentation with the lithographic process. Never hindered by
tradition, he was wildly inventive in his use of disparate methods and
processes. The result is that many of his prints read as collages, with
overlapping, transparent areas creating a shifting, fluid space.

In 1967 Rauschenberg took these ideas even
further in a series of images entitled Booster
and 7 Studies. Booster is made up
of an X-ray...

In the early 1960s Rauschenberg
began his long experimentation with the lithographic process. Never hindered by
tradition, he was wildly inventive in his use of disparate methods and
processes. The result is that many of his prints read as collages, with
overlapping, transparent areas creating a shifting, fluid space.

In 1967 Rauschenberg took these ideas even
further in a series of images entitled Booster
and 7 Studies. Booster is made up
of an X-ray...

In the early 1960s Rauschenberg
began his long experimentation with the lithographic process. Never hindered by
tradition, he was wildly inventive in his use of disparate methods and
processes. The result is that many of his prints read as collages, with
overlapping, transparent areas creating a shifting, fluid space.

In 1967 Rauschenberg took these ideas even
further in a series of images entitled Booster
and 7 Studies. Booster is made up
of an X-ray self-portrait laid over with a time chart of 1967, revealing the
artist as Inner Man, an idea he would use again the next year in his Autobiography. To this he adds other
simple images and further enhances these with blue, red, and black. We are left
with the ghostlike figure of the artist offering himself as a memento mori, a
reminder of the temporality of life.